风格化遗骸-苏菲·斯图宾格-双语
本帖最后由 qq_微愿_kzk 于 2022-8-15 14:45 编辑Introduction
Hi everyone! My name is Sophie Rose Stübinger and I’m a 3D environment artist and game art student from Cologne, Germany. Anything stylized is my jam!
My 3D journey started a little over two years ago, shortly before I started my studies in game development. I discovered 3D art and immediately got hooked. Being inspired by all the amazing environments you can find in games and online,
I started self-studying Blender and to learn more about different workflows on how to create new worlds myself. Since then I’ve had the opportunity to work on titles such as Party Animals by Recreate Games and Spiral by Folklore Games.
I was also really happy to intern on Fortnite’s Battle Royale Team at Epic Games as an environment artist. Now, I’m wrapping up the final year of my studies and am really excited to finish university next year.
介绍
大家好！我的名字是Sophie Rose Stübinger，我是一名来自德国科隆的3D环境艺术家和游戏艺术学生。任何风格化的东西都是我的果酱！
我的3D之旅始于两年多前，就在我开始学习游戏开发之前不久。我发现了3D艺术，并立即迷上了。受到游戏和在线中所有令人惊叹的环境的启发，
我开始自学Blender，并进一步了解如何自己创建新世界的不同工作流程。从那时起，我有机会制作《Recreate Games的Party Animals》和《Folklore Games的Spiral》等游戏。
我也非常高兴能在Epic Games的Fortnite大逃杀团队实习，担任环境美术师。现在，我正在结束我学习的最后一年，我很高兴明年能完成大学学业。
https://att.element3ds.com/data/attachment/upload_media/20220815/kd29zovvwozkvfr2.mp4?form=upload_media_7791
Project & Goals
Seeing so many stunning Ghibli-Esque environments, I’ve been itching to try my hand on one as well. And for the final year of my studies, I decided that I wanted to use the remaining time to focus more on diving deeper into the more technical side of Unreal Engine and learn about shaders and landscape creation as well as practice my understanding of the art fundamentals.
项目和目标
看到这么多令人惊叹的吉卜力式环境，我一直渴望尝试一下。在我学习的最后一年，我决定利用剩下的时间，更深入地研究虚幻引擎的技术方面，了解着色器和景观创作，并练习我对美术基础知识的理解。
With this project being part of a school assignment, I had quite a tight schedule which also meant that I had to pay close attention to time management and efficiency. For the assignment itself, we were given different themes that we could choose from.
由于这个项目是学校任务的一部分，我的日程安排相当紧凑，这也意味着我必须密切关注时间管理和效率。对于作业本身，我们得到了不同的主题，我们可以从中进行选择。
Once the theme was chosen, every student was to come up with an artwork capturing the theme, presenting it in a media of their choice. In my case, I decided to go for the theme ‘Gothic’ since gothic architecture has always been something I wanted to look into in more detail.
一旦选择了主题，每个学生都要想出一个捕捉主题的艺术品，并在他们选择的媒体上展示。就我而言，我决定选择“哥特式”主题，因为哥特式建筑一直是我想更详细地研究的东西。
I decided to render the scene in Unreal Engine 4 and use Blender for modeling and UV-mapping. The sculpting was done in Zbrush and baking as well as texturing in Substance Painter. For some of the foliage creation and the clouds, I used Photoshop.
我决定在虚幻引擎4中渲染场景，并使用Blender进行建模和UV贴图。雕刻是在Zbrush中完成的，烘焙以及Substance Painter中的纹理。对于一些树叶创作和云，我使用了Photoshop。
Pillars & References
Since gothic architecture was initially designed to be very imposing and to create a form of eminence, I found the idea of gothic ruins very interesting. Generally, ruins are seen as a reminder of past human lives and how fleeting and fragile life can be. So, I found this contrast very captivating and wanted to capture it in a more light-hearted and warmer setting. I also instantly connected gothic ruins to early autumn, considering it’s the season that’s also symbolic of change.
支柱和参考
由于哥特式建筑最初被设计成非常气势磅礴，并创造了一种突出的形式，我发现哥特式废墟的想法非常有趣。一般来说，废墟被视为提醒人们过去的生活，以及生命是多么短暂和脆弱。所以，我发现这种对比非常迷人，并希望在更轻松，更温暖的环境中捕捉它。我还立即将哥特式废墟与初秋联系起来，考虑到这个季节也象征着变化。
A big chunk of time that I spent on this project was for research and gathering references. I think it’s important to draw inspiration from all kinds of things and not limit yourself to only game art-related content. Your final result reflects the depths of your research a lot, so putting a bit more time and effort into the pre-production phase is definitely worth it. For this project, my ref sheet consisted of a lot of diagrams of gothic architecture, miniature dioramas as well as ruins found in different kinds of media. Regarding the art style, I took a lot of inspiration from Overwatch, Genshin Impact and Darksiders.
我在这个项目上花费的很大一部分时间是研究和收集参考资料。我认为从各种事物中汲取灵感很重要，而不是将自己局限于与游戏艺术相关的内容。您的最终结果充分反映了您研究的深度，因此在预生产阶段投入更多的时间和精力绝对是值得的。对于这个项目，我的参考表包括许多哥特式建筑，微型立体模型以及在不同类型媒体中发现的废墟的图表。关于美术风格，我从《守望先锋》、《玄神冲击》和《暗黑血统》中汲取了很多灵感。
Blockout
While the scene went through many iterations from start to finish, the plan was to have the entrance arch as a focal point and use the foliage and landscape to frame the scene.
封锁
虽然场景从头到尾经历了多次迭代，但计划是将入口拱门作为焦点，并使用树叶和景观来构图场景。
First, I started blocking out the main shapes in Blender. When doing so, I try to focus on the shape language before moving on to refining the blockout more. I figured that as soon as you have a good foundation, it’s easier to build up on it. So this step usually involves a lot of testing and switching between Blender and Unreal Engine until I reach a point where I’m happy with where I’m headed with the overall scene. From then on I gradually switch out the placeholders with the updated meshes as I work on it.
首先，我开始在Blender中屏蔽主要形状。在这样做时，我尝试将重点放在形状语言上，然后再进一步完善块。我想，一旦你有了一个良好的基础，就更容易建立起来。因此，这一步通常涉及大量的测试，并在Blender和虚幻引擎之间切换，直到我对整个场景的发展方向感到满意。从那时起，我逐渐切换出带有更新网格的占位符，因为我正在处理它。
Composition
When figuring out the composition of my main shot, I like to look at already existing artworks from artists that inspire me and ask myself what exactly it is that I find visually appealing and try to apply those things to my own work. One thing I noticed was that a lot of my favorite artworks were divided into three parts; fore-, middle- and background. Especially in landscape paintings, you see this technique a lot since it adds depth and dimension to your scene.
组成
在弄清楚我的主要镜头的构图时，我喜欢看看艺术家已经存在的艺术作品，这些艺术家激励着我，并问自己，我发现视觉上吸引人的到底是什么，并试图将这些东西应用到我自己的作品中。我注意到的一件事是，我最喜欢的很多艺术品都分为三部分。前部、中部和背景。特别是在风景画中，您会经常看到这种技术，因为它为您的场景增加了深度和维度。
While there are many different ways how to approach composition, I find the rule of thirds to be very helpful. Your center of attention is put on either the left or right side of your shot, leaving the opposite side relatively empty to create some form of resting area for the eye to prevent the scene from getting too noisy.
虽然有许多不同的方法来处理构图，但我发现三分法则非常有帮助。你的注意力集中在镜头的左侧或右侧，让另一侧相对空旷，为眼睛创造某种形式的休息区，以防止场景变得太嘈杂。
What comes in handy is Unreal Engine’s composition overlays that you can find on the right side of the window once you go into the Cinematic Viewport. Like that, you can quickly compose the scene using the overlay as a guideline without having to take screenshots and put some overlay on it in Photoshop.
派上用场的是虚幻引擎的构图叠加层，一旦你进入电影视口，就可以在窗口的右侧找到这些叠加层。这样，您可以使用叠加层作为指导来快速构图场景，而无需截取屏幕截图并在Photoshop中在其上放置一些叠加层。
Color Scheme
Color-wise, I decided to focus on two main colors; orange and blue. With those colors being complementary hues and therefore color wheel friends, I pretty much stayed in those color families so as to not make the scene too overwhelming. When used together, complementary colors can kind of boost each other’s intensity which creates a bold, high contrast to make it pop even more.
配色方案
在颜色方面，我决定专注于两种主要颜色;橙色和蓝色。由于这些颜色是互补色调，因此是色轮朋友，我几乎留在了这些颜色家族中，以免使场景过于压倒性。当一起使用时，互补色可以提高彼此的强度，从而产生大胆，高对比度，使其更加流行。
What helps make the scene more harmonious and for the dominating colors to unify is to repeat them within the opposite color. For instance, the flowers on the ground pick up the color of the sky and either have a blue or white hue. The same is done with the leaves that pick up the color of the ground.
有助于使场景更加和谐并使主导颜色统一的是用相反的颜色重复它们。例如，地面上的花朵拾取天空的颜色，并具有蓝色或白色色调。拾取地面颜色的叶子也是如此。
Asset Creation
Because of the tight schedule, I wanted to make sure that I had enough time for iterations and to polish everything. So, I narrowed it down to a few components I could build the structure of the ruins with that is reminiscent of the one of a mausoleum. Because of that, I decided to give each asset its own individual/unique material treatment.
The building itself only consists of the main entrance wall that serves as a main focal point, two broken-down walls that could be duplicated and rotated to build the structure of the building and a decorative element for the candles to be put in. Once I had a solid blockout of the structure of the ruins in Blender, I moved it over to Zbrush and started sculpting.
资产创建
由于时间紧迫，我想确保我有足够的时间进行迭代并完善所有内容。因此，我将其缩小到几个组件，我可以用它来构建废墟的结构，这让人想起陵墓的结构。正因为如此，我决定对每种资产进行单独的/独特的材料处理。
建筑物本身仅由作为主要焦点的主入口墙，两个可以复制和旋转以构建建筑物结构的破损墙以及用于放置蜡烛的装饰元素组成。一旦我在Blender中对废墟的结构进行了坚实的封锁，我就将其移至Zbrush并开始雕刻。
For that, I kept the sculpt relatively clean to have an easily readable silhouette and incorporated elements like ornate decoration, the pointed arch and stones that are characteristic of gothic architecture.
为此，我保持雕塑相对干净，具有易于阅读的轮廓，并融入了哥特式建筑特有的华丽装饰，尖拱和石头等元素。
Because I was dealing with mostly stone walls, I decided to sculpt a small number of stones of different sizes and then duplicate and place them the way I needed.
因为我主要处理石墙，所以我决定雕刻少量不同大小的石头，然后按照我需要的方式复制和放置它们。
Like that, I was able to quickly build the wall of the entrance arch as well as two side walls. After that, I added some more details like cracks or damage to the stones to break up repetition and to also make more sense of the ruins themselves. What helped me a lot was a tip I got from Lucas Annunziata; Try to think about the pre-ruined shape and what type of construction or stones it was made out of initially. Like that it’s easier to figure out how the pieces would behave when destroyed.
就这样，我能够快速地建造入口拱门的墙壁以及两面侧墙。之后，我添加了一些更多的细节，如裂缝或石头损坏，以打破重复，并更能理解废墟本身。对我帮助很大的是我从卢卡斯·安农齐亚塔那里得到的一条小费。试着想想被毁坏的形状，以及它最初是用什么类型的建筑或石头制成的。这样，更容易弄清楚碎片在被摧毁时会如何表现。
I also made some candles and two variants of stone steps that I used to lead up to the ruins later on. I struggled a bit with the latter at first. The first pass of the stones didn’t have any tilt or prominent damage which made it feel very stiff and repetitive. So I made a new sculpt adding more wear and tear which immediately made it more realistic and believable.
我还制作了一些蜡烛和两种石阶，我后来常常把它们带到废墟上。起初，我对后者有点挣扎。石头的第一次通过没有任何倾斜或突出的损坏，这使得它感觉非常僵硬和重复。所以我做了一个新的雕塑，增加了更多的磨损和撕裂，立即使它更加逼真和可信。
Once the high poly was done, I started working on the low poly. For that, I merged everything belonging to the respective mesh, like the stones for each of the sidewalls and the ones for the entrance arch wall, and dynameshed and ZRemeshed it to a point where I had a solid topology. In Blender, I then cleaned up the topology some more and UVd it before moving over to Substance Painter for baking and texturing.
一旦高多边形完成，我就开始研究低多边形。为此，我合并了属于各自网格的所有内容，例如每个侧壁的石头和入口拱形墙的石头，并将其动态网格化并ZRemeshed，使其具有坚实的拓扑结构。在Blender中，我又清理了一些拓扑结构，并在移动到Substance Painter进行烘焙和纹理处理之前对其进行了UVD。
Texturing
Texture-wise, I kept it quite simple: A base layer, subtle bottom-to-top gradient and vice versa, color variation, a detail pass, ambient occlusion and curvature. When texturing in Painter, I think it’s important not to rely on generators only but use them as a base to build up on and add or remove details to give it a more handcrafted and unique look.
纹理
在纹理方面，我保持了它非常简单：一个基础层，微妙的从下到上的渐变，反之亦然，颜色变化，细节传递，环境光遮蔽和曲率。在Painter中进行纹理处理时，我认为重要的是不要仅仅依赖生成器，而是将它们用作基础来构建和添加或删除细节，以使其具有更手工制作和独特的外观。
To achieve a slightly more painterly style without having to actually hand-paint everything from scratch, I went into Photoshop and created a simple alpha texture with some rough brushstrokes of different sizes and opacity. After having imported it to Substance Painter, I projected the texture onto the mesh to have a good painterly base before I went in and gave it some additional brushstrokes by either erasing parts or adding to the already existing ones from the texture.
I repeated that step a couple of times, changing the color, opacity and scale of the texture to have more variety.
为了实现稍微更具绘画性的风格，而不必从头开始手绘所有内容，我进入了Photoshop，并使用一些不同大小和不透明度的粗糙笔触创建了一个简单的alpha纹理。在将其导入Substance Painter之后，我将纹理投影到网格上，以便在我进入之前具有良好的绘画基础，并通过擦除部分或从纹理中添加已经存在的部分来给它一些额外的笔触。
我重复了几次这个步骤，改变纹理的颜色，不透明度和比例，以使其更加多样化。
Foliage
With the majority of the scene consisting of foliage and landscape, I tried to keep it simple to not take away the attention from the focal point.
树叶
由于大部分场景由树叶和风景组成，我试图保持简单，以免从焦点上转移注意力。
The mesh for the bushes was kindly provided by my class- and roommate Anne Goossens who I worked on another school assignment.
All I did was make some more instances to add subtle color variation to the scene. For the rest of the foliage, I tried a couple of different approaches. My first approach was to sculpt some of the foliage like weeds, daisies and other flowers to have a simple high-poly that I could then bake down onto a plane.
灌木丛的网格是由我的班级和室友安妮·古森斯（Anne Goossens）提供的，我曾在另一项学校作业中工作。
我所做的只是做更多的实例来为场景添加微妙的颜色变化。对于其余的树叶，我尝试了几种不同的方法。我的第一种方法是雕刻一些叶子，如杂草，雏菊和其他花朵，以形成一个简单的高聚，然后我可以将其烘烤到平面上。
But after some testing, I realized that too much detail was displayed on a surface that was too small and they didn’t feel very integrated into the scene.
但经过一些测试，我意识到在太小的表面上显示太多细节，并且感觉与场景的融合程度不高。
So, I took a step back and tried the same approach that was used for the bushes which were to have a very simple alpha texture that indicates the general shape of the foliage and mapped the mesh onto it.
The mesh itself has modified normals, making them face upwards so they’re lit the same as the terrain.
因此，我退后一步，尝试了与灌木丛相同的方法，这些灌木丛具有非常简单的alpha纹理，可以指示树叶的一般形状，并将网格映射到上面。
网格本身修改了法线，使它们朝上，因此它们的照明与地形相同。
The color could then quickly be assigned and adjusted in-engine. Additionally to hand-crafted foliage, I usedghibli-inspired brushes that sped up the foliage creation a lot.
然后可以在引擎中快速分配和调整颜色。除了手工制作的树叶外，我还使用了https://www.artstation.com/madeleineink吉卜力灵感刷子，大大加快了树叶创作的速度。
Landscape/Grass
For the grass, I used a combination ofas well asbreakdowns. I highly recommend checking out their detailed documentation since they explain it way better than I ever could.
Landscape/Grass
对于草地，我使用了https://jesshiderue4.wordpress.com/和https://www.youtube.com/c/PrismaticaDev?reload=9&cbrd=1分解的组合。我强烈建议您查看他们的详细文档，因为他们的解释比我更好。
https://att.element3ds.com/data/attachment/upload_media/20220815/m9f00ltb1zzltznb.mp4?form=upload_media_7792
Basically, I made two different grass cards that I could populate the scene with. The cards themselves don’t cast any shadows to achieve a more lush and Ghibli-Esque look. Additionally, I set up virtual texturing so the grass would pick up the color of the terrain underneath it which allowed me to give the grass more depth and believability, painting it in different shades of orange by making use of the Landscape Layers.
Because of that setup, I could also blend different parts of the landscape like the pathway leading up to the ruins and the grass to give it a more seamless transition.
基本上，我制作了两张不同的草卡，我可以用它们填充场景。卡片本身不会投射任何阴影，以达到更丰富和吉卜力式的外观。此外，我设置了虚拟纹理，以便草可以拾取其下方地形的颜色，这使我能够赋予草更多的深度和可信度，通过使用景观图层将其绘制成不同深浅的橙色。
由于这种设置，我还可以混合景观的不同部分，例如通往废墟和草地的路径，以使其更加无缝过渡。
Shaders
To make quick adjustments in engine without having to go back and forth between engine and texturing software, I decided to dive a bit more into shaders to see what I can achieve in the time given. I made one master material that included RVT Blending, Objects Space Gradient, Moss and Vertex Painting. After that, I simply created multiple Instances for each mesh and was able to simply adjust the parameters to my liking.
着色
为了在引擎中进行快速调整，而不必在引擎和纹理软件之间来回切换，我决定深入研究着色器，看看在给定的时间内我能取得什么成就。我制作了一个母材，包括RVT混合，对象空间渐变，苔藓和顶点绘画。之后，我只需为每个网格创建多个实例，并能够根据自己的喜好简单地调整参数。
https://att.element3ds.com/data/attachment/upload_media/20220815/azvxjohpvke32olv.mp4?form=upload_media_7793
The first thing I did was set up RVT to blend the meshes with the terrain which helped a lot to make the stone steps look more integrated in the ground. And because the stone steps only consist of two meshes that were duplicated and rotated, it also made it a lot easier to break up the obvious repetition.
我做的第一件事是设置RVT将网格与地形混合在一起，这在很大程度上帮助了石阶看起来更融入地面。而且由于石阶仅由两个重复和旋转的网格组成，因此也使分解明显的重复变得更加容易。
https://att.element3ds.com/data/attachment/upload_media/20220815/zs8icd2nfssnpz9f.mp4?form=upload_media_7794
To have more contrast with the sky, I then added a warm bottom-to-top gradient into the stone of the ruins. The setup for this is pretty straightforward:
为了与天空形成更多的对比，我在废墟的石头上添加了一个温暖的从下到上的渐变。此设置非常简单：
You take your Absolute World Position as well as your Object Position and plug it into a Transform Position node. Here, you just have to change the Source to Absolute World Space and the Destination to Local Space.
From there on you simply subtract them from each other and divide that by the Local Bounds Size. Once you mask it out you just plug it into your alpha channel where you lerp it together with the texture/color. The moss on the ruins is very subtle and is done with a simple World Aligned Blend:
你获取你的绝对世界位置以及你的对象位置，并将其插入到“变换位置”节点中。在这里，您只需要将“源”更改为“绝对世界空间”，将“目的地”更改为“本地空间”。
从那里开始，您只需将它们彼此相减，然后将其除以局部边界大小。一旦你把它遮盖出来，你只需把它插入你的阿尔法通道，在那里你把它和纹理/颜色放在一起。废墟上的苔藓非常微妙，是用简单的世界对齐混合完成的：
Lighting & Rendering
The lighting setup is quite basic and didn’t change much throughout the project. It consists of one-directional light that has a slightly yellowish tint to it to emulate a warm, sunny day.
Furthermore, I added some spot and point lights to brighten up some areas that were a tad too dark or areas that I wanted to be more dominant since the eye naturally goes to the brightest spot of your scene.
光照与渲染
照明设置非常基本，在整个项目中没有太大变化。它由单向光组成，具有略带淡黄色的色调，以模拟温暖，阳光明媚的日子。
此外，我添加了一些聚光灯和点光源来照亮一些有点太暗的区域，或者我想更占主导地位的区域，因为眼睛自然会转到场景中最亮的区域。
Exponential Height Fog. Here, I experimented a lot with the Distance parameters since I wanted the fog to be denser in the background so the mountainous vista wouldn’t look too out of place. I also changed the default Inscattering Color to a very bright, saturated red which added a subtle, yet noticeable warm gradient to the object the further it’s away.
指数高度雾。在这里，我用距离参数进行了大量实验，因为我希望背景中的雾更密集，这样山区的远景就不会看起来太不合适。我还将默认的“散射颜色”更改为非常明亮、饱和的红色，这为对象增加了一个微妙但明显的暖渐变，因为它离得越远。
I did some slight color tweaking in the Post-Processing Settings but nothing major since I already was quite happy with how the scene looked.
我在后期处理设置中做了一些轻微的颜色调整，但没什么大不了的，因为我已经对场景的外观非常满意。
Feedback
I think it’s incredibly important to seek feedback from people or online communities. When you work on something over a longer period of time, you might oversee a lot of things that might be obvious to others. So, picking other artists’ brains really is the fastest way to get better and train your eye to spot these things as well in the future. For personal projects, I like to seek feedback once I have a solid blockout and then later on while I’m polishing everything so I can still make changes.
反馈
我认为从人们或在线社区寻求反馈非常重要。当你在更长的时间内做某件事时，你可能会监督很多对其他人来说可能是显而易见的事情。因此，挑选其他艺术家的大脑确实是变得更好的最快方法，并训练你的眼睛在未来发现这些事情。对于个人项目，我喜欢在有一个坚实的块后寻求反馈，然后在以后我打磨所有内容时寻求反馈，以便我仍然可以进行更改。
Post Mortem
In retrospect, I’ve learned a lot with this piece and one of the big takeaways was that you really shouldn’t be too harsh to yourself in the early stages of a project since every project goes through a poop phase. While difficult to overcome, it’s important to just push through it and have trust in the process. I also learned that checking your values is directly applicable to 3D and helps a lot to put more emphasis on the focal point.
验尸
回想起来，我从这篇文章中学到了很多东西，其中一个重要的收获是，在项目的早期阶段，你真的不应该对自己太苛刻，因为每个项目都会经历一个便便阶段。虽然很难克服，但重要的是要坚持下去，并信任这个过程。我还了解到，检查您的值直接适用于3D，并且有助于更加重视焦点。
There are quite some things that I would change or improve on were I to do it again or continue to work on it. But with the time given, I’m quite happy with what I was able to achieve and will keep those things in mind for my next project.
如果我再次这样做或继续努力，我会改变或改进很多事情。但是随着时间的流逝，我对我能够实现的目标非常满意，并将在下一个项目中牢记这些事情。
Advice
Less is more, take everything step by step! I think it’s a general misconception that you have to make a big, stunning portfolio piece at the very start of your 3D journey. While there are people who absolutely slay it and create breath-taking environment pieces of a bigger scope, I personally found it very helpful to start with smaller pieces and focus on specific aspects I want to improve on and learn before moving to the next project.
建议
少即是多，一步一个脚印！我认为这是一个普遍的误解，你必须在3D旅程的一开始就制作一个大的，令人惊叹的投资组合。虽然有些人绝对会杀死它，并创建更大范围的令人叹为观止的环境部分，但我个人发现从较小的部分开始并专注于我想要改进和学习的特定方面，然后再进入下一个项目是非常有帮助的。
Like that, you give yourself time to really understand what you’re trying to build upon and apply the knowledge you gained from it to your next project. Naturally, you expand your knowledge library and therefore, gradually expand the size of your projects over time.
像这样，你给自己时间真正理解你试图建立的东西，并将你从中获得的知识应用到你的下一个项目中。当然，您可以扩展知识库，因此，随着时间的推移，逐渐扩展项目的大小。
Afterwords
Thank you Games Artist for inviting me! And huge thanks to my artist friends who helped me on this project, especially Luiza Tanaka, Lucas Annunziata and Tobias Koepp as well as my class – and flatmates Maria Eom and Anne Goossens for all the support and for being my second pair of eyes. I hope this breakdown was somewhat helpful and gave some insight into my process. In case you have any questions or just want to chat, feel free to reach out to me on:
后记
感谢游戏艺术家邀请我！非常感谢我的艺术家朋友在这个项目上帮助我，特别是Luiza Tanaka，Lucas Annunziata和Tobias Koepp以及我的班级 - 以及室友Maria Eom和Anne Goossens的所有支持，并成为我的第二双眼睛。我希望这个细分有所帮助，并对我的过程有一些了解。如果您有任何疑问或只想聊天，请随时与我联系：
https://www.artstation.com/merilwen
https://twitter.com/merilwenart
https://www.linkedin.com/in/merilwenart/
https://att.element3ds.com/data/attachment/upload_media/20220815/aanitvuqxefvtqqr.mp4?form=upload_media_7795
{:1_235:} 牛逼 太强了！谢谢楼主分享 {:1_235:} {:1_231:}
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